Word: warholism
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Alas, Fassbinder is doing more than mere fooling around. Increasingly, he seems to be the '70s heir to such past camp masters as the '50s Hollywood director Douglas Sirk (Magnificent Obsession) and the '60s Warhol disciple Paul Morrissey (Flesh). But unlike his predecessors, Fassbinder does not recognize the limits of the form. Camp is fine for movies that want to trade exclusively in offbeat humor and florid emotions. In Maria Braun, Fassbinder makes the serious mistake of try ing to convey ideas...
...once said, "walk-in Hoppers," sculptural equivalents to the world of that American master, with its nocturnal bars and waiting figures. Segal's tableaux have a flavor of the '30s-overlaid, now and then, with a sharp erotic curiosity. Instead of the irony of a '60s Warhol or Lichtenstein, one is treated to an unremitting earnestness, a moral concern with the voids between people and the circumspectness of their gestures. It is a somber sight, this "populist art," as one of Segal's admirers dubbed it; and it gives a special density to the retrospective...
Another actress Allen admires is his Manhattan costar, Mariel Hemingway, who is 17. "I wrote the part for her after seeing her in Lipstick and stumbling across her photo in Andy Warhol's Interview magazine. She met with me, and after two minutes I knew she was right. When we were making the film, she always stayed in character when we improvised. Even when I went off in an unexpected direction, she could always go with the scene...
BACK in the mid-sixties pop art made its debut on the American scene; all the most ludicrous examples of mass urban culture shined as serious artworks. Andy Warhol got rich off his Campbell soup cans, George Segal for his over-all plaster casts of live human beings, Roy Lichtenstein for his comic strip tableaux...
Contrary to Warhol's essentially democratic premise-everybody, but briefly -fame elevates some mortals into realms where their celebrity achieves a life of its own. While a Tiny Tim or a Judith Exner may flare and fade, others acquire a strange permanence-or its illusion, which is of course just as good. They have been transported into another medium where information and images are permanently (or for years, anyway) stored. In the formula of Historian Daniel Boorstin, they have "become well known for being well known." A classic of the category is, say, Elizabeth Taylor. Who, outside...